ONE DISAPPOINTMENT stains what should be an intriguing fall dance seas on. It is profound and loaded with implications for dance that extend far beyond the next four months.

The cancellation of the engagement at UC-Berkeley of the Martha Graham Dance Company, which, both as a performing organization and a school, has shut down operations, possibly forever. What led to the closure - the squabbles between the board and Ron Protas, who owns the rights to all of Graham's dances and was ousted as artistic director - is not dissipating, despite all the publicity.

Finnaly, there is an good update to report. <BR>The following is the letter from us to all supporters and friends,<P>Dear Friends and Colleagues,<P>Thank you for supporting our efforts to bring the Martha Graham Dance Company and School back to life. You and the hundreds of others all over the world who signed our letter, have galvanized the artistic community and focused awareness on this situation. With this as our beginning we will continue to work until changes are made. We do not have a staff, and for now must work at other jobs to pay our bills. We are overwhelmed by the world's support and are doing our best to make the most of these efforts and to make them matter. <P>Martha's is a legacy of dance that belongs to the whole world, and it is a powerful statement that throughout the world people are coming forward to keep Martha Graham's work alive and living for everyone through the Company and School she created. We would like to share with you some of our plans and goals for the future and invite you to continue helping us in whatever ways you would like. <P>The letter itself has sparked other letter-writing campaigns and discussion in countries as far flung as Turkey and Japan, Mexico and Canada. We will share our ongoing efforts with all of these countries, and would like to create forums where they can be introduced to their counterparts working toward the same goal. <P>We are in the process of improving and expanding our web site. Some of the dancers skilled in computer and web sites have volunteered their time to make it better and expandable so it can be our link to the international community. Our e-mail address is manned by the dancers as well, and comes directly to all of us.<P>Members of the School staff and faculty have been volunteering time and services to staff our temporary offices. Members of the Board of Trustees have been generous in their help as well. The Schools of Cunningham, Jose Limon, Alvin Ailey, Harlem Dance Theater and Peridance have opened their arms to the Graham students. Special attention has been given to the many foreign students who have been displaced. The organization Emergency Fund for Student Dancers, in an extraordinary gesture, will sponsor an event in mid-October to raise money to help Graham's foreign students to continue their training until the Graham Center can reopen. <P>The Board of Trustees of the Martha Graham Center is committed to raising funds to pay the Center's debt so that as an organization we can move forward. It will raise these funds among its own members before it solicits funds from the community at large. The Board has set as its first goal, the building of a home for the Center, where the Company and School with its faculty and students, can begin to work and create together again. Early Spring of 2001 has been set for the opening of the studios in the new building at 316 E. 63d Street. Money has been contributed and more will be raised to design and outfit this space.<P>While all this is happening, dancing remains the greatest joy and necessity for us all. We are organizing performances of our own to dance together; in our own and other choreographers' work until we can again perform the Graham repertory that we love so much. The first of these performances was on August 16 as a part of Summer series "Dance in the Square" in Union Square. Later in the fall of this year we are planning an evening of performance by some of the many companies and individuals in the United States and Europe whose own existence is linked to Martha Graham's work. The evening will be a benefit for the Center's reopening and a celebration of the Graham legacy as it lives in all of us today. <P>The Company and School have been the most powerful crucibles for Martha's monumental body of work. They have been a vortex of creative talent beginning around Martha Graham, with a singleness of focus and passionate commitment which continues to today. The Center is an original source with profound resources and is a Mecca to which many make a yearly pilgrimage: to study the technique, the choreography and share with others the discovery of the meanings of these for themselves. <BR> <BR>In joining with our friends and colleagues in the artistic community throughout the world we think it possible to begin again. It will be a hard road and long, but Martha's roots in us are deep. Anything you can do to share our letter and its goals will be of great help to us all. <P>Many people have offered financial support and we can accept contributions sent to our office at 153 East 53rd Street Suite # 5101, New York, NY 10022. Tel(212)838-5886. <BR>If you would like to earmark your contributions for Dancers' Call to Action, the money will be used for our mailings, publicity, e-mail and web site expenses.<P>Please keep in touch through our e-mail and web sites about our upcoming events.<BR>Thank you once again,<P><BR>Dancers of the Martha Graham Dance Company<BR>

And here is a review and status report by Backstage.com:<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Undaunted, the Graham dancers stated their determination to continue under all odds in the program notes to Keeping the Channels Open, the blanket title of their co-produced performance on Aug. 16 in Union Square Park.<P>"We the dancers of the Martha Graham Dance Company are determined to continue to do what we know and love best-dancing. This performance is an act of faith for each of us. It represents our collective efforts to build a future, in spite of the fact that we have lost our artistic home, are without studio space, and lack financial support. This is a celebration and a gift to us we share with you."<P>A solo choreographed by Tadej Brdnik, "In Every You, One of Me," performed by Katherine Crocket, opened the inspired efforts. The dancer came on walking slowly, as if following a funeral procession, and bearing a handful of leaves. As she sat down and began swinging the leaves about, her mournful demeanor revealed a soul in torment. Through all her pain, she managed to exhibit a series of wide extensions, and remarkable fluidity. At the conclusion, she scattered flower petals about as if indicating segments of hope.<HR></BLOCKQUOTE><P><B><A HREF="http://dailynews.yahoo.com/h/bpibs/20000831/en/_b_h1_dance_diary_h1_b__1.html" TARGET=_blank>More</A></B>

a little snippet i noticed in the la times:<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Closer to home, the Joffrey Ballet of Chicago dances a new<BR> production of Martha Graham's "Appalachian Spring," Oct. 19-22,<BR> in the Windy City's Auditorium Theatre: the first Graham staging<BR> since the closure in May of the embattled and financially troubled<BR> Graham company. <HR></BLOCKQUOTE>

I wonder what the background is to this. I hope that the arrangemnets for the contract were all made before the dancers asked <B>all</B> companies not to perform the work to put pressure on Protas to resolve the crisis.<P>Maybe someone should be asking the Joffrey what the score is. Are any of our readers from the MGDC around to fill us in on their angle?<p>[This message has been edited by Stuart Sweeney (edited September 18, 2000).]

We are coming back.....slowly but surely!!!<P>THE EMERGENCY FUND FOR STUDENT DANCERS<BR>PRESENTS<BR>‘CONTINUE THE LEGACY’<BR>A BENEFIT CONCERT TO SUPPORT<BR>THE STUDENTS OF THE MARTHA GRAHAM SCHOOL<BR>OCTOBER 5, 6 & 7, 2000<P>FOR IMMEDIATE RELEASE<BR>September 3, 2000<BR> <BR>Press information Nolini Barretto<BR>Press tickets: (212) 691-6500 x222<BR>Ticket reservations: (212) 924-0077<P><BR>The Emergency Fund for Student Dancers (EFSD) announces three performances to benefit the students of the Martha Graham School on October 5, 6 and 7 at the Merce Cunningham Studio. The concerts will feature original work by renowned choreographers as well as work by advanced students of the member schools. Dancers in these pieces are professional artists and company members affiliated with the member schools as well as advanced students. <P>Among the featured works are: excerpts from Revelations by Alvin Ailey, staged on a student repertory class by Sylvia Waters, artistic director of Ailey II; Merce Cunningham’s Un Jour ou Deux, danced by Gail Hsu, graduate of the Cunningham Studio and excerpts from Premonitions by Marianne Bachmann, former faculty member and Director of the Martha Graham School. Premonitions is danced by Rika Okamoto and Kenneth Topping both former members of the Martha Graham Dance Company. Also on the bill is Two choreographed by Amber Merkens and Adam Hougland, both members of the Limón Dance Company; Dark Night, choreographed by Kenneth Topping, former Director of the Martha Graham Ensemble whose piece is danced by three men from the Graham Ensemble; an untitled work from Tiffany Glenn from the Dance Theater of Harlem School and a solo created by Arthur Aviles for Eng Kian Ooi, one of the displaced students of the Martha Graham School now training at the Merce Cunningham Studio.<P> <BR>The concerts take place on October 5 and 6 at 9pm and October 7 at 8pm at the Merce Cunningham Studio at 55 Bethune Street (11th Floor), New York City. Tickets are $10 for student tickets when purchased in advance at the member schools, $15 for general admission and $25 for reserved seating. Reservations for $15 and $25 tickets can be made by calling the DTW Box Office at (212) 924-0077. Tickets can be purchased one week before the concerts at the member schools and at the door half an hour before performance. Reserved tickets must be paid for and picked up at the box office at the Cunningham Studio at least 15 minutes before the performances.<P>The Emergency Fund for Student Dancers was established in 1990 in response to a tragic circumstance involving a Swiss student at the Martha Graham School. Since then its mission has been to provide financial support to full-time dance students of member schools who are in crisis situations. The current situation facing the displaced students of the Martha Graham School (the sudden and unexpected closure of the school) qualifies as an unquestionable emergency. EFSD is rising to the challenge by pledging to raise money to enable these vulnerable students to continue their professional dance training at other institutions until the Martha Graham School is reopened. Besides mounting these benefit concerts, EFSD will also match each dollar donated or raised through benefit tickets up to $5,000, towards tuition fees for those Graham students who are unable to afford enrollment at another school.<P>Current EFSD member schools includes The Ailey School, the School of the Dance Theater of Harlem, the Limón Institute, the Martha Graham School and the Merce Cunningham Studio.<P>For these benefit concerts, EFSD thanks all the people and organizations that have donated in-kind services and volunteered their time and skills. It thanks the Merce Cunningham Studio for rehearsal and performance space, Dance Theater Workshop for member services, Marianne Bachmann for serving as artistic director of the concerts, the EFSD Executive Board members, the choreographers, dancers, technical personnel and students who generously helped make the concerts happen.<P>

Question for tadej---can the teachers teach "Graham technique" without Ron Protas'permission? I know they can't restage the ballets, but what about teaching Graham classes? (This all relates to the possible reopening of a school by the Graham Board)Also, the JOffrey just re-staged"Diversion of Angels". With the help of Yuriko. I guess there are some Graham followers who are not particpating in the boycott?<P>[This message has been edited by trina (edited November 26, 2000).]<p>[This message has been edited by trina (edited November 26, 2000).]

Trina and others,<BR>Unfortunately as far as I know we all teach Graham technique as Graham based technique, because no one can teach it the way Ron wants it (wondering why?!) and no one is "certified" to do so. And that was even when Ron was part of Graham Company.<BR>Regarding Yuriko. You could noticed that she didn't sign our letter, but my sources tells me that she will not work with Ron in the future. The contract with Joffrey was signed far before the boycott was staged and she was obliged to go through it at that point. Same goes for Takako with ABT.

Tadej--thanks for clarification!! People do have to honor their contracts (referring to Yuriko and Takako)<BR> I saw Takako do the "Girl in Red" in Diversion of Angels about 20 years ago---what a dancer!! She was partnered in that dance by her husband David Hatch Walker. That was the first time I ever saw the Graham Company...that performance is so fresh in my mind, it seems like yesterday. I think "Diversion" is one of my favorite Graham dances.<p>[This message has been edited by trina (edited November 27, 2000).]

A preview of sorts...<P><BR> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR><B><A HREF="http://www.villagevoice.com/issues/0048/finkle.shtml" TARGET=_blank>Factions prepare for Battle Over Rights to Martha Graham’s Works<BR>COURT DANCES</A></B><BR>by David Finkle, The Village Voice<P>Given the continuing controversy over Martha Graham's legacy and its dispersal, the titles of some of her dances are proving eerily prophetic. Errand Into the Maze, Tangled Night, Embattled Garden, and Lamentation might apply to the brouhaha, which seems about to wind up in court.<HR></BLOCKQUOTE><P><BR><B><A HREF="http://www.villagevoice.com/issues/0048/finkle.shtml" TARGET=_blank>More</A></B>

ah! just came in here to post the village voice article.....<P>the second section is interesting, where it asks what did graham actually own?, and suggests that she may have been an employee at the time she created certain works - which would leave the copyright owned by the employer, not by graham - so she could not will them to anyone....<BR>but i would assume the writer is wrong to suggest that owrks created in the 1920's may be in the public domain. as far as i know, in america as elsewhere, the copyright remains with the creator (even if dead) for 50 years after their death, not 50 years after the work's creation. apparently graham's most prolific choreographic year was 1926.<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Graham, however, didn't want her dances notated—in part because she never considered her works finished. She wanted to be able to alter them according to her instinct and for specific dancers' bodies. ....She did, of course, allow dances to be filmed. <HR></BLOCKQUOTE><P>

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